The Place of Holocaust Survivor Videotestimony: Navigating the Landmarks of First-Person Audio-Visual Representation

2020 ◽  
pp. 669-686
Author(s):  
Oren Baruch Stier
Keyword(s):  
Visual Representation ◽  
Holocaust Survivor ◽  
First Person

scholarly journals The world within reach: an image database of reach-relevant environments

2021 ◽  
Author(s):  
Emilie Louise Josephs ◽  
Haoyun Zhao ◽  
Talia Konkle
Keyword(s):  
Visual Experience ◽  
Visual Representation ◽  
Image Database ◽  
Visual Input ◽  
First Person ◽  
Stimulus Set ◽  
The World ◽  
Tight Connection ◽  
Scale Spaces ◽  
Main Activity

Near-scale spaces are a key component of our visual experience: whether for work or for leisure, we spend much of our days immersed in, and acting upon, the world within reach. Here, we present the Reachspace Database (RSDB), a novel stimulus set containing over 10,000 images depicting first person, reachable-scale, motor-relevant views (hereafter “reachspaces”), which reflect the visual input that an agent would experience while performing a task with her hands. These images are divided into over 350 categories, based on a taxonomy we developed, which captures information relating to the identity of each reachspace, including the broader setting and room it is found in, the locus of interaction (e.g., kitchen counter, desk), and the specific action it affords. Summary analyses of the taxonomy labels in the database suggest a tight connection between activities and the interaction spaces that support them: while a small number of rooms and interaction loci afford many diverse actions (e.g. workshops, tables), most reachspaces were relatively specialized, typically affording only one main activity (e.g. gas station pump, airplane cockpit, kitchen cutting board). Overall, this Reachspace Database represents a large sampling of reachable environments, and provides a new resource to support behavioral and neural research into the visual representation of reachable environments.

scholarly journals What If We Could Not See? Counterfactual Analysis for Egocentric Action Anticipation

2021 ◽  
Author(s):  
Tianyu Zhang ◽  
Weiqing Min ◽  
Jiahao Yang ◽  
Tao Liu ◽  
Shuqiang Jiang ◽  
...  
Keyword(s):  
Side Effect ◽  
Large Scale ◽  
Visual Representation ◽  
Visual Features ◽  
Counterfactual Analysis ◽  
First Person ◽  
Analysis Framework ◽  
Qualitative And Quantitative ◽  
Quantitative Results ◽  
Near Future

Egocentric action anticipation aims at predicting the near future based on past observation in first-person vision. While future actions may be wrongly predicted due to the dataset bias, we present a counterfactual analysis framework for egocentric action anticipation (CA-EAA) to enhance the capacity. In the factual case, we can predict the upcoming action based on visual features and semantic labels from past observation. Imagining one counterfactual situation where no visual representation had been observed, we would obtain a counterfactual predicted action only using past semantic labels. In this way, we can reduce the side-effect caused by semantic labels via a comparison between factual and counterfactual outcomes, which moves a step towards unbiased prediction for egocentric action anticipation. We conduct experiments on two large-scale egocentric video datasets. Qualitative and quantitative results validate the effectiveness of our proposed CA-EAA.

Impersonation

2020 ◽  
Author(s):  
Laura Browder
Keyword(s):  
Deep Understanding ◽  
Holocaust Survivor ◽  
First Person ◽  
Literary Canon ◽  
Public Identity ◽  
Reader Reception ◽  
Part Time ◽  
Authentic Voice

Impersonator narratives exist at the intersection of literature and history; they serve as interventions during flash points in history. Impersonation takes a number of different forms, but in all cases it is contingent on reader reception. There are narrative impersonations in which reader and writer are willing collaborators and in which readers feel little to no discomfort with an author’s assumption of a voice far from his or her public identity; any novel written in first person is in a sense an impersonation. Yet even when author and reader agree that the work is fictional, this compact between fiction reader and writer can become disrupted when readers question the author’s right to assume a specific voice. There are literary hoaxes, which generally (although not always) involve a body of work whose author is supposedly dead (and thus it is impossible for any actual impersonation to take place). The most analytically productive for textual scholars, however, are the most committed impersonators—those who (at least part-time) inhabit the literary personae they have created. For this last group of impersonators, as is true for some of the others, success depends on having a readership with fixed ideas about the identities the impersonator chooses to inhabit. The impersonator succeeds through a deep understanding of stereotypes and, through his or her success, further imprisons his or her readers in caricatured thinking about race and identity. Yet the unmasking of the impersonator offers the possibility of liberation to readers, in that it forces them to consider the preconceptions that led them to believe in these false narratives, no matter how implausible. Impersonation can be a means for its practitioners to escape historical traps, or identities that no longer work for them; it can be a way for practitioners to put a historically understood label (Holocaust survivor, AIDS victim) on their private, uncategorizable pain or trauma. Impersonation is meaningless without the underlying belief in an authentic voice. And these authentic voices are usually from speakers outside the literary canon.

scholarly journals Apesar do silêncio: heranças da experiência da Shoá de Chaim Pomerancblum

2021 ◽  
Vol 45 ◽  
pp. 97-114
Author(s):  
Ilana Heineberg
Keyword(s):  
Life Story ◽  
Holocaust Survivor ◽  
First Person ◽  
Personal Essay ◽  
Academic World ◽  
Dual Purpose ◽  
Transgenerational Transmission ◽  
Maternal Grandfather ◽  
The Holocaust ◽  
Reflective Approach

This personal essay has a dual purpose of relating the transgenerational transmission of the Holocaust survivor Chaim Pomerancblum’s life story, and of reflecting, at the same time, on this non-canonical practice in the academic world regarding the use of first person narrative. First, I will discuss and explain this self-reflective approach by drawing on post-memorial literary and theoretical works. Next, I will narrate, in a fragmentary and metatextual way, the life story of Chaim, my maternal grandfather.

(Re)Mediating Holocaust Survivor Testimony

2020 ◽  
Vol 7 (12) ◽  
pp. 68-80
Author(s):  
Roy Schwartzman
Keyword(s):  
Holocaust Survivors ◽  
Eyewitness Testimony ◽  
Holocaust Survivor ◽  
First Person ◽  
Television Series ◽  
Personal Testimony

As the number of Holocaust survivors declines, their live eyewitness testimony will be preserved and communicated via other media. This transformation prompts a key question. What value can personal testimony have when disembodied and presented in a medium more manipulable by the audience? The response addresses three types of mediated testimony: the first televised broadcast of a Holocaust survivor’s story, on the 1953 U.S. television series This Is Your Life; archival video testimonies; and “unsettled testimony” consisting of less structured, first-person testimonies gathered by the author that reveal the challenges of discursive representation. Each type of testimony offers distinct advantages and limitations in reducing prejudice and fostering understanding.

First Person on the Last Page: Choosing How to Walk the Path

ASHA Leader ◽  
2014 ◽  
Vol 19 (1) ◽  
pp. 72-72
Author(s):  
Kelli Jeffries Owens
Keyword(s):  
First Person

First-Person Experiments in Thinking

2018 ◽  
Vol 23 (3) ◽  
pp. 189-205 ◽  
Author(s):  
Renatus Ziegler ◽  
Ulrich Weger
Keyword(s):  
Physiological Parameters ◽  
The Self ◽  
First Person ◽  
Psychological Phenomena ◽  
Third Person ◽  
Current Article ◽  
Thinking Process ◽  
Mental Contents

Abstract. In psychology, thinking is typically studied in terms of a range of behavioral or physiological parameters, focusing, for instance, on the mental contents or the neuronal correlates of the thinking process proper. In the current article, by contrast, we seek to complement this approach with an exploration into the experiential or inner dimensions of thinking. These are subtle and elusive and hence easily escape a mode of inquiry that focuses on externally measurable outcomes. We illustrate how a sufficiently trained introspective approach can become a radar for facets of thinking that have found hardly any recognition in the literature so far. We consider this an important complement to third-person research because these introspective observations not only allow for new insights into the nature of thinking proper but also cast other psychological phenomena in a new light, for instance, attention and the self. We outline and discuss our findings and also present a roadmap for the reader interested in studying these phenomena in detail.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

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